Case Number 19133

CLOSE-UP: CRITERION COLLECTION (BLU-RAY)

The Charge

"With its universal themes and fascinating narrative knots,
Close-up has resonated with viewers around the world"

Opening Statement

Early in its life, photography was considered by some to be "less"
than art because the camera "only" recorded what was put in front of
it. While this represents a profound misunderstanding of photographic technique,
it's an idea that persisted well into the motion picture era. However, instead
of seeing it as a liability, some artists attempted to claim that moving
pictures could be superior because they could "document" reality in a
totally new and objective way, allowing viewers unprecedented access to the
world around them. Of course reality is not that simple. Take, for instance, the
Zapruder film -- which might be the most analyzed film in history -- has been
used by every side of the Kennedy assassination debate to bolster their
arguments. If the film is in fact the one and only truth of the events, then it
shouldn't be able to be used for mutually exclusive arguments. Herein lies the
problem with so-called documentary films: For all they document, they never
achieve a complete record, they never tell a complete story. And story is what
most viewers are after. Numerous filmmakers, from Rob Reiner in This is
Spinal Tap to Errol Morris in The Thin Blue Line, have pointed out
the shaky divide between fiction and film, but few have done so with as much
flair as Iranian filmmmaker Abbas Kiarostami did with Close-up. This
provocative film, which explores the nature of cinema and reality, has received
the coveted Criterion treatment on Blu-ray, and fans of documentary, foreign
cinema, and Kiarostami in particular are going to want to pick up this
release.

Facts of the Case

In 1989, Hossein Sabzian impersonated noted Iranian filmmaker Mohsen
Makhmalbaf and managed to dupe a wealthy family in Tehran, convincing them that
they would be involved in his next movie. When Sabzian appeared unaware of a
prestigious award won by a Makhmalbaf movie, the family became suspicious, and
because some money had changed hands the family got the police involved. When an
article about the fraud appears in a newspaper, director Abbas Kiarostami drops
his latest film project to investigate. With the participation of the family and
Hossein, Kiarostami sets out to document Sabzian's trial and recreate his fraud
with the help of victim and perpetrator alike.

The Evidence

Close-up was a wakeup call on many levels. It heralded a revitalized
Iranian cinema, a cinema that was emotionally deep and formally daring, and one
that would increasingly butt heads with the fundamentalist establishment for the
decades to follow. It also announced the international arrival of its director,
Abbas Kiarostami, to the world at large. Although he'd been making films for
years and would go on to more critical acclaim with the Golden Palm-winning
Taste of Cherry, Close-up was really the film that made people
take notice. Cinematically, it creates a bridge between some of the narratively
sparse films of the past while also looking forward to a more experimental
international cinema in years to come.

Close-up is a film it feels pointless to talk about. Because it
fictionalizes (or at least recreates with artistic license) the factual while
documenting its own creation, it creates an entire world, one in which
everything is both fact and fiction. That makes it a daunting film to view, as
Kiarostami layers fact upon fact, playing on the audience's knowledge of fiction
and film. Close-up is also an easy film to watch: we open on several men
in a cab riding to a house where a man is to be arrested. Only 15 minutes in do
we learn that all the actors are playing themselves, and it's not difficult to
appreciate the film as a simple telling of Sabzian's story. Only on repeat
viewing (and with some background filled in by helpful resources like the
booklet Criterion has included with this release) do the overlaps and fissures
between fact and fiction become apparent. Those shifting lines between what's
"real" and what Kiarostami has capture make the film an entrancing
viewing experience, one that's frustrating to write about.

What's not frustrating, however, is Criterion's presentation of the film on
Blu-ray. Close-up was obviously shot on a low budget, utilizing numerous
film stocks and diverse lighting situations. Consequently, the film is never
going to look reference quality. Criterion, though, have given the film the
deluxe treatment. Grain is consistent and pleasant without being noisy, the
slightly washed out colors are strong despite the heat that seems to be
radiating off of ever surface, and there are no significant compression problems
or print damage to speak of. The mono audio is slightly less impressive, but
there was obviously less to work with. Sounding like it was recorded on
location, the dialogue occasionally distorts, with occasional bits of hiss here
and there. These are minor quibbles though, because in general dialogue is clear
and well balanced, making this an easy film to hear.

Criterion has released another Kiarostami picture (Taste of Cherry),
and it seems like they planned the extras for Close-up to make up for
that almost-barebones release. Things kick off with a commentary by scholars
Mehrnaz Saeed-Vafa and Jonathan Rosenbaum, and the pair discuss the film's
production, themes, and reception. We're also treated to two documentaries. The
first is a peek in on Hossein Sabzian in the years after the film was release,
while the second covers Kiarostami's career in great detail. Kiarostami is also
featured in an exclusive interview that runs almost half an hour discussing
Close-up and its effect on his career. Finally, the usual Criterion
booklet includes a nice essay by Godfrey Cheshire that provides some much-needed
context for the film.

The Rebuttal Witnesses

Hopefully it's clear by now that Close-up is not the average narrative
drama. The movie can be slow and challenging, and doesn't provide any neat
answers to the questions it asks about the role of reality in cinema (or cinema
in reality). Although serious cineastes owe it to themselves to watch the film,
the average film viewer will probably leave more frustrated than satisfied.

Closing Statement

The folks at Criterion are obviously aware that Close-up is a landmark
in international cinema, and went all out for this Blu-ray release. We've got a
fascinating and important film, a stunning transfer, solid audio, and enough
supplements for any two films. For fans of foreign and art-house cinema this one
is a winner, and it's easily worth a rental for the more adventurous film
lover.